UNIVERSITY of OSLO SSS DEPARTMENT of PHYSICS Iu Ji 11 I
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James Clerk Maxwell
James Clerk Maxwell JAMES CLERK MAXWELL Perspectives on his Life and Work Edited by raymond flood mark mccartney and andrew whitaker 3 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries c Oxford University Press 2014 The moral rights of the authors have been asserted First Edition published in 2014 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2013942195 ISBN 978–0–19–966437–5 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
Founding a Family of Fiddles
The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard. -
ASR-X Pro 3.00
9ÑSupplemental Information 9 Suppll ementttall II nffformatttii on Lii sttt offf ROM Waves KEYBOARD ELEC PIANO JAMM SNARE CONGA LOW PERC ORGAN LIVE SNARE CONGA MUTE DRAWBAR LUDWIG SNARE CONGA SLAP ORGAN MUTT SNARE CUICA PAD SYNTH REAL SNARE ETHNO COWBELL STRII NG-SOUND STRING HIT RIMSHOT GUIRO MUTE GUITAR SLANG SNARE MARACAS MUTE GUITARWF SPAK SNARE SHAKER GTR-SLIDE WOLF SNARE SHEKERE DN BRASS+HORNS HORN HIT ZEE SNARE SHEKERE UP WII ND+REEDS BARI SAX HIT BRUSH SLAP SLAP CLAP BASS-SOUND UPRIGHT BASS SIDE STICK 1 TAMBOURINE DN BS HARMONICS SIDE STICK 2 TAMBOURINE UP FM BASS STICKS TIMBALE HI ANALOG BASS 1 STUDIO TOM TIMBALE LO ANALOG BASS 2 ROCK TOM TIMBALE RIM FRETLESS BASS 909 TOM TRIANGLE HIT MUTE BASS SYNTH DRUM VIBRASLAP SLAP BASS CYMBALS 808 CLOSED HT WHISTLE DRUM-SOUND 2001 KICK 808 OPEN HAT WOODBLOCK 808 KICK 909 CLOSED HT TUNED-PERCUS BIG BELL AMBIENT KICK 909 OPEN HAT SMALL BELL BAM KICK HOUSE CL HAT GAMELAN BELL BANG KICK PEDAL HAT MARIMBA BBM KICK PZ CL HAT MARIMBA WF BOOM KICK R&B CL HAT SOUND-EFFECT SCRATCH 1 COSMO KICK SMACK CL HAT SCRATCH 2 ELECTRO KICK SNICK CL HAT SCRATCH 3 MUFF KICK STUDIO CL HAT SCRATCH 4 PZ KICK STUDIO OPHAT1 SCRATCH 5 SNICK KICK STUDIO OPHAT2 SCRATCH 6 THUMP KICK TECHNO HAT SCRATCH LOOP TITE KICK TIGHT CL HAT WAVEFORM SAWTOOTH WILD KICK TRANCE CL HAT SQUARE WAVE WOLF KICK CR78 OPENHAT TRIANGLE WAV WOO BOX KICK COMPRESS OPHT SQR+SAW WF 808 SNARE CRASH CYMBAL SINE WAVE 808 RIMSHOT CRASH LOOP ESQ BELL WF 909 SNARE RIDE CYMBAL BELL WF BANG SNARE RIDE BELL DIGITAL WF BIG ROCK SNAR CHINA CRASH E PIANO WF -
Orientalism As Represented in the Selected Piano Works by Claude Debussy
Chapter 4 ORIENTALISM AS REPRESENTED IN THE SELECTED PIANO WORKS BY CLAUDE DEBUSSY A prominent English scholar of French music, Roy Howat, claimed that, out of the many composers who were attracted by the Orient as subject matter, “Debussy is the one who made much of it his own language, even identity.”55 Debussy and Hahn, despite being in the same social circle, never pursued an amicable relationship.56 Even while keeping their distance, both composers were somewhat aware of the other’s career. Hahn, in a public statement from 1890, praised highly Debussy’s musical artistry in L'Apres- midi d'un faune.57 Debussy’s Exposure to Oriental Cultures Debussy’s first exposure to oriental art and philosophy began at Mallarmé’s Symbolist gatherings he frequented in 1887 upon his return to Paris from Rome.58 At the Universal Exposition of 1889, he had his first experience in the theater of Annam (Vietnam) and the Javanese Gamelan orchestra (Indonesia), which is said to be a catalyst 55Roy Howat, The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier (New Haven, Conn.: Yale University Press, 2009), 110 56Gavoty, 142. 57Ibid., 146. 58François Lesure and Roy Howat. "Debussy, Claude." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/07353 (accessed April 4, 2011). 33 34 in his artistic direction. 59 In 1890, Debussy was acquainted with Edmond Bailly, esoteric and oriental scholar, who took part in publishing and selling some of Debussy’s music at his bookstore L’Art Indépendeant. 60 In 1902, Debussy met Louis Laloy, an ethnomusicologist and music critic who eventually became Debussy’s most trusted friend and encouraged his use of Oriental themes.61 After the Universal Exposition in 1889, Debussy had another opportunity to listen to a Gamelan orchestra 11 years later in 1900. -
August 1909) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1909 Volume 27, Number 08 (August 1909) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 27, Number 08 (August 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/550 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. AUGUST 1QCQ ETVDE Forau Price 15cents\\ i nVF.BS nf//3>1.50 Per Year lore Presser, Publisher Philadelphia. Pennsylvania THE EDITOR’S COLUMN A PRIMER OF FACTS ABOUT MUSIC 10 OUR READERS Questions and Answers on the Elements THE SCOPE OF “THE ETUDE.” New Publications ot Music By M. G. EVANS s that a Thackeray makes Warrington say to Pen- 1 than a primer; dennis, in describing a great London news¬ _____ _ encyclopaedia. A MONTHLY JOURNAL FOR THE MUSICIAN, THE THREE MONTH SUMMER SUBSCRIP¬ paper: “There she is—the great engine—she Church and Home Four-Hand MisceUany Chronology of Musical History the subject matter being presented not alpha¬ Price, 25 Cent, betically but progressively, beginning with MUSIC STUDENT, AND ALL MUSIC LOVERS. -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
Technical Analysis on HW Ernst's Six Etudes for Solo Violin in Multiple
Technical Analysis on Heinrich Wilhelm Ernst’s Six Etudes for Solo Violin in Multiple Voices In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music Violin by Shang Jung Lin M.M. The Boston Conservatory November 2019 Committee Chair: Won-Bin Yim, D.M.A. Abstract Heinrich Wilhelm Ernst was a Moravian violinist and composer who lived between 1814-1865. He was a friend of Brahms, collaborator with Mendelssohn, and was admired by Berlioz and Joachim. He was known as a violin virtuoso and composed many virtuosic works including an arrangement of Schubert’s Erlkönig for solo violin. The focus of this document will be on his Six Etudes for Solo Violin in Multiple Voices (also known as the Six Polyphonic Etudes). These pieces were published without opus number around 1862-1864. The etudes combine many different technical challenges with musical sensitivity. They were so difficult that the composer never gave a public performance of them. No. 6 is the most famous of the set, and has been performed by soloists in recent years. Ernst takes the difficulty level to the extreme and combines different layers of techniques within one hand. For example, the second etude has a passage that combines chords and left-hand pizzicato, and the sixth etude has a passage that combines harmonics with double stops. Etudes from other composers might contain these techniques but not simultaneously. The polyphonic nature allows for this layering of difficulties in Ernst’s Six Polyphonic Etudes. -
Universal Tuning Editor
Universal Tuning Editor Ηπ INSTRUMENTS Aaron Andrew Hunt Ηπ INSTRUMENTS hpi.zentral.zone · Universal Tuning Editor · documentation v11 1.May.2021 Changes from Previous Documentation 5 Current Version, v11 — 1. May 2021 ....................................................................5 Previous Versions ............................................................................................5 Introduction 9 Features List .................................................................................................9 User Interface Basics ......................................................................................11 Maximising the Detail View ..............................................................................12 Maximising the Tuning List ..............................................................................13 Toolbar .......................................................................................................13 Bug Reporting & Feedback ...............................................................................14 Feature Requests ..........................................................................................14 File Handling 15 Preferences ..................................................................................................15 Auto store unsaved projects internally ...............................................................15 Restore external projects at next session ...........................................................15 Prompt to handle each open project -
Interval Cycles and the Emergence of Major-Minor Tonality
Empirical Musicology Review Vol. 5, No. 3, 2010 Modes on the Move: Interval Cycles and the Emergence of Major-Minor Tonality MATTHEW WOOLHOUSE Centre for Music and Science, Faculty of Music, University of Cambridge, United Kingdom ABSTRACT: The issue of the emergence of major-minor tonality is addressed by recourse to a novel pitch grouping process, referred to as interval cycle proximity (ICP). An interval cycle is the minimum number of (additive) iterations of an interval that are required for octave-related pitches to be re-stated, a property conjectured to be responsible for tonal attraction. It is hypothesised that the actuation of ICP in cognition, possibly in the latter part of the sixteenth century, led to a hierarchy of tonal attraction which favoured certain pitches over others, ostensibly the tonics of the modern major and minor system. An ICP model is described that calculates the level of tonal attraction between adjacent musical elements. The predictions of the model are shown to be consistent with music-theoretic accounts of common practice period tonality, including Piston’s Table of Usual Root Progressions. The development of tonality is illustrated with the historical quotations of commentators from the sixteenth to the eighteenth centuries, and can be characterised as follows. At the beginning of the seventeenth century multiple ‘finals’ were possible, each associated with a different interval configuration (mode). By the end of the seventeenth century, however, only two interval configurations were in regular use: those pertaining to the modern major- minor key system. The implications of this development are discussed with respect interval cycles and their hypothesised effect within music. -
The Consecutive-Semitone Constraint on Scalar Structure: a Link Between Impressionism and Jazz1
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz1 Dmitri Tymoczko The diatonic scale, considered as a subset of the twelve chromatic pitch classes, possesses some remarkable mathematical properties. It is, for example, a "deep scale," containing each of the six diatonic intervals a unique number of times; it represents a "maximally even" division of the octave into seven nearly-equal parts; it is capable of participating in a "maximally smooth" cycle of transpositions that differ only by the shift of a single pitch by a single semitone; and it has "Myhill's property," in the sense that every distinct two-note diatonic interval (e.g., a third) comes in exactly two distinct chromatic varieties (e.g., major and minor). Many theorists have used these properties to describe and even explain the role of the diatonic scale in traditional tonal music.2 Tonal music, however, is not exclusively diatonic, and the two nondiatonic minor scales possess none of the properties mentioned above. Thus, to the extent that we emphasize the mathematical uniqueness of the diatonic scale, we must downplay the musical significance of the other scales, for example by treating the melodic and harmonic minor scales merely as modifications of the natural minor. The difficulty is compounded when we consider the music of the late-nineteenth and twentieth centuries, in which composers expanded their musical vocabularies to include new scales (for instance, the whole-tone and the octatonic) which again shared few of the diatonic scale's interesting characteristics. This suggests that many of the features *I would like to thank David Lewin, John Thow, and Robert Wason for their assistance in preparing this article. -
Tuning Continua and Keyboard Layouts
October 4, 2007 8:34 Journal of Mathematics and Music TuningContinua-RevisedVersion Journal of Mathematics and Music Vol. 00, No. 00, March 2007, 1–15 Tuning Continua and Keyboard Layouts ANDREW MILNE∗ , WILLIAM SETHARES , and JAMES PLAMONDON † ‡ § Department of Music, P.O. Box 35, FIN-40014, University of Jyvaskyl¨ a,¨ Finland. Email: [email protected] † 1415 Engineering Drive, Dept Electrical and Computer Engineering, University of Wisconsin, Madison, WI 53706 USA. ‡ Phone: 608-262-5669. Email: [email protected] CEO, Thumtronics Inc., 6911 Thistle Hill Way, Austin, TX 78754 USA. Phone: 512-363-7094. Email: § [email protected] (received April 2007) Previous work has demonstrated the existence of keyboard layouts capable of maintaining consistent fingerings across a parameterised family of tunings. This paper describes the general principles underlying layouts that are invariant in both transposition and tuning. Straightforward computational methods for determining appropriate bases for a regular temperament are given in terms of a row-reduced matrix for the temperament-mapping. A concrete description of the range over which consistent fingering can be maintained is described by the valid tuning range. Measures of the resulting keyboard layouts allowdirect comparison of the ease with which various chordal and scalic patterns can be fingered as a function of the keyboard geometry. A number of concrete examples illustrate the generality of the methods and their applicability to a wide variety of commas and temperaments, tuning continua, and keyboard layouts. Keywords: Temperament; Comma; Layout; Button-Lattice; Swathe; Isotone 2000 Mathematics Subject Classification: 15A03; 15A04 1 Introduction Some alternative keyboard designs have the property that any given interval is fingered the same in all keys.